Author(s): Omer Kemal GULTEKIN

The political and social ramification of the decline of Soviet Union and the collapse of Berlin Wall in 1989, which brings out a bedlam in Eastern Europe are focused on in David Edgar’s play Pentecost (1995). In the play, a fictional fresco that could change the history of Europe coupled with a group of refugees who carry different cultures with them are subtly assembled together under a forsaken church in an unknown country of Eastern Europe. This article aspires to discuss the intricate cultural relations between the East and the West that come into contact in Eastern Europe and to examine Edgar’s utopic scene of Pentecost as a solution for the ethnic and cultural hatred rising to the surface in a time of crisis, as it happens in the early 1990s.


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